Xi Zhang,

• Ph. D. in Art History, University of Chicago
• M.A. in Art History, University of Louisville
• B.A. in French Language and Literature, Sichuan International Studies University, Chongqing, China

Modern Chinese art and architecture, East Asian interregional art history, and diasporic art and architecture, with a focus on the interplay of spatial practices and visual culture in transcultural contexts from the eighteenth through the twentieth centuries.

• The Arts of China
• Topics in Asian Art/Chinese, Japanese, and Other Gardens

• “Curating and Displaying Architecture: 'China Architectural Exhibition’ in Shanghai, 1936,” in Histories, Politics, and Practices: Exhibiting Chinese Art in Asia, ed. Michelle Huang and Selina Ho. Hong Kong: Lingnan University, Amsterdam University Press, forthcoming 2024.
• Chengshi yuanjing: 1850-1930 niandai Shanghai dushi yu shijue wenhua (The City’s Pleasures: Urban and Visual Culture of Garden Spaces in Shanghai, 1850s-1930s). Beijing: The Commerce Press, forthcoming.
• Zhonggguo jianzhu jingdian (One-Hundred Cases of Chinese Architecture), with Fei Nie. Beijing: Wenhua yishu chubanshe, forthcoming, 2023.
• “Kongjian yu xushi: dianying yinhan shuangxing zhong xiandai yishu de kuameijie zaixian” ("Space and Narration: Transmedia Representation of Art Deco in Two Stars in A Milky Way"), in Modernist Art in China, ed. Shanghai Academy of Fine Arts, Shanghai University, 2019.
• “Ershi shijie sanshi niandai de Shanghai bailemen wuting: yige xiandai yule jianzhu de jiangou yu dushi shehui kongjian de tuozhan” ("Constructing a Modern Architectural and Social Space: The Paramount Ballroom in 1930s Shanghai"). New Architecture (June 2017): 25-29.
• “Shanghai bailemen wuting” ("Shanghai Ballrooms"), in Zhongguo jindai jianzhu shi (The History of Modern Chinese Architecture), ed. Lai Delin, Wu Jiang, and Xu Subin, 2016 (4): 156-173, Beijing: Zhongguo jianzhu gongye chubanshe.
• “Hebei chutu de baizhanting jinbi ji xiangguan wenti tantao” ("Discussion of the Gold Coins of Byzantium from Hebei Province and Other Related Problems"), in Journal of National Museum of China, 2007 (3): 15-25.
• Chinese translations of Eriko Tomizawa-Kay, “He Xiangning’s (1878–1972) Perception of nihonga (Japanese Style painting) and the Development of Works in China” and Aida Yuen Wong, “Taiwanese Ink Painting: Lin Yu-shan’s Sino-Japanese Reconciliation,” both in Appropriation and Transformation: The Exploration of Painting by Chinese Artists Trained Abroad in the Early Twentieth Century, He Xiangning Art Museum exh. cat., 2014.

• A.W. Mellon Chicago Objects Study Initiative (COSI) Advanced Writing Fellowship, Department of Asian Art, Art Institute of Chicago, 2020-21
• Kei-on Chan Dissertation Prize in Modern Chinese Studies, Center for East Asia Studies, University of Chicago, 2020-21
• The University of Chicago/Getty Dissertation Fellowship in Chinese Art History, 2018-19
• A.W. Mellon COSI Curatorial Fellowship, Departments of Asian Art & European Decorative Arts, Art Institute of Chicago, 2017-18
• Kathleen J. Shelton Memorial Traveling Fellowship, Department of Art History, University of Chicago, summer 2016
• Cressman Scholarship, Hite Art Institute, University of Louisville, 2011-12
• Frederic Lindley Morgan Scholarship, Hite Art Institute, University of Louisville, 2009-11